Cagliostro

During his lifetime Orson Welles appeared in many films of other directors to earn money to finance his own projects. Some of those films were horrible, some contained some of his best performances. I always have felt his best performance in a non-Welles film is in Compulsion. Many would hold out for The Third Man. But I think some would say that his portrayal of Cagliostro the great mountebank of the 18th century would get a few votes.

The opening scene and dialog with Berry Kroeger and Raymond Burr as Alessandro Dumas Senior and Junior is an interesting well acted scene. Kroeger has set out to write a novel based on Cagliostro, but he cannot get a handle on the character. A common complaint with authors trying to reach a goal.

The real Cagliostro's character would probably rate a mini-series. This guy was some piece of work. The affair of the diamond necklace as portrayed here was only one chapter in Cagliostro's life. Failing as the senior Dumas said he was doing he wrote a novel with some plot elements from previous work like The Three Musketeers and The Man In The Iron Mask.

As a child Joseph Balsamo aka Cagliostro saw his gypsy mother executed for practicing black arts by Stephen Bekassy the local prefect, a skill which he inherited. His natural abilities as a hypnotist were developed with study under Dr. Mesmer played here by Charles Goldner. But like characters in stories involving superheroes Orson Welles as the grown up Balsamo now stylizing himself as Cagliostro is ready to make a name for himself.

Bekassy has also risen in power and influence and he's got some intrigue going. Welles whom he does not recognize is part of his plan, but Orson has some plans of his own.

Part of those plans involve Nancy Guild who plays the dual role of a girl from out of town and the Queen of France herself Marie Antoinette. Guild does equally well as the girl in love with soldier Frank Latimore the nominal hero of the film. As Marie Antoinette she's not as noble as Norma Shearer in the same part, but no doubt she's royal personage used to royal prerogatives. I do love the scene where Guild gives Madame DuBarry played by Margot Grahame the old fashioned heave ho.

The real Cagliostro died in 1795 surviving the King and Queen of France and he left the mortal coil in Rome. But Black Magic is the kind of film that makes you wish what happens here is true. Orson Welles has so many emotions working at once in the title role, greed, revenge, lust and a spark of a little boy whose mother was taken from him. Note also good performances by Akim Tamiroff and Valentina Cortese as the gypsy confederates of Cagliostro. Cortese is carrying one big old freedom torch for Welles, but he's no time for her, eyes on the prize as it were the prize being the power behind the throne of France.

Quite a few people will see Black Magic as Orson Welles's best performance in a non-Orson Welles film.

Black Magic is an unjustly neglected 1949 Orson Welles film, based on Alexandre Dumas's novel Joseph Balsamo, a fictionalized version of the life of the occultist better known as Cagliostro, set mostly against the background of the days just before the French Revolution. The film is entertaining and well done, though it's a pity that it's in black and white, since the meticulously recreated ancien regime sets and costumes would have looked much more impressive in color. Welles reportedly said that he had more fun making this film than any other, and it's easy to see why, since the melodramatic script gives ample room for over-the-top histrionics, which only an actor of Welles's talent could put over convincingly. It's interesting that Welles here again plays an eccentric genius whose early success was soon undermined by his own flaws -- in other words, a character whose career is intriguingly parallel to his own. I think most people will find the film entertaining, and real Welles fans should consider it a must-see.

The Hen's Tooth Video DVD seems to be the only Region 1 DVD currently available, and it's of adequate sound and image quality, though from a rather poor original print. The film is certainly important enough to deserve a redigitized version with booklet and special features, if possible from a better print, but lacking that, the Hen's Tooth Video version is watchable.

Not having readt the story by Dumas,I really don't feel qualified to comment as to this film's fidelity to the original work.However,it has very little,if anything,to do with the actual history.till,it's a superb example of a cross between swashbuckling and film noir. Has anybody ever commented on the fact that,when Orson Welles did historical or Shakespearean figures,he was really telling so much about himself.Noble,talented,gifted people,whose grandiose designs were brought low by their own tragic flaws.And how good looking he was.If he hadn't doubled his girth in later years,he could have played leading men similar to those of Walter Pidgeon.

HISTORICAL NOTE:The real Cagliostro was exiled from France in 1789,following the business about the diamond necklace.He then moved to Rome,where he established a Masonic Lodge.Now,in Europe,the Masons are NOT viewed as a men's fraternal organization,as in the U.S.A.,but,rather,as a hot bed of treason,treachery,and heresy.Consequently,he was arrested,and sentenced to be executed.The Pope commuted the sentence to life imprisonment,and he spent the rest of his life in prison.

MORAL:We really don't need anyone else to foul up our lives,now,do we?We happen to do a great job on our own.

I saw this movie as a boy and it lingers after nearly fifty years as a haunting memory. It may be what we now call noir, but the twinkle in Welles' eye also lingers, suggesting a gris texture. That twinkle is the same that Harry Lime (cine verde?) flashed to Holly Martin in the alley scene of The Third Man (which was also made in Europe in 1949).

Cagliostro was a brilliant montebank, alchemist,poseur and rascal of the first order. Welles gave him credibility, perhaps recognizing a kindred spirit down the centuries. I still remember the dark, cobbled streets and slick rainy roof tops of eighteenth century European cities -- scenes also not unlike the ones in The Third Man. The ending, I remember, was also bitter sweet.

I wish that those who produce lesser know classics for DVD restoration might see this "foreign" movie; it is obviously available somewhere since there have been other reviewers. If they chose it I could have my childhood Madeleine experience, and others would have another Welles film to compare with the finite now available.

I just watched the video of BLACK MAGIC again tonight and was once again impressed with it. Orson Welles turns in one of his finest performances. I was also impressed by the quality of the production considering it wasn't a Hollywood studio production (although it was released by United Artists). Elaborate costumes and sets and tons of extras. Interesting plot and photography. It has a nice film noir look to it. But the best part of BLACK MAGIC is Welles.